Other Minds Records

Total Page:16

File Type:pdf, Size:1020Kb

Other Minds Records http://oac.cdlib.org/findaid/ark:/13030/c8wq0984 Online items available Guide to the Other Minds Records Alix Norton, Jay Arms, Madison Heying, Jon Myers, and Kate Dundon University of California, Santa Cruz 2018 1156 High Street Santa Cruz 95064 [email protected] URL: http://guides.library.ucsc.edu/speccoll Guide to the Other Minds Records MS.414 1 Contributing Institution: University of California, Santa Cruz Title: Other Minds records Creator: Other Minds (Organization) Identifier/Call Number: MS.414 Physical Description: 399.75 Linear Feet (404 boxes, 15 framed and oversized items) Physical Description: 0.17 GB (3,565 digital files, approximately 550 unprocessed CDs, and approximately 10 unprocessed DVDs) Date (inclusive): 1918-2018 Date (bulk): 1981-2015 Language of Material: English https://n2t.net/ark:/38305/f1zk5ftt Access Collection is open for research. Audiovisual media is unavailable until reformatted. Digital files are available in the UCSC Special Collections and Archives reading room. Some files may require reformatting before they can be accessed. Technical limitations may hinder the Library's ability to provide access to some digital files. Access to digital files on original carriers is prohibited; users must request to view access copies. Contact Special Collections and Archives in advance to request access to audiovisual media and digital files. Publication Rights Property rights for this collection reside with the University of California. Literary rights, including copyright, are retained by the creators and their heirs. The publication or use of any work protected by copyright beyond that allowed by fair use for research or educational purposes requires written permission from the copyright owner. Responsibility for obtaining permissions, and for any use rests exclusively with the user. For more information on copyright or to order a reproduction, please visit guides.library.ucsc.edu/speccoll/reproduction-publication. Preferred Citation Other Minds records. MS 414. Special Collections and Archives, University Library, University of California, Santa Cruz. Immediate Source of Acquisition Gift of Charles Amirkhanian, 2016. Online Items Available Audio recordings of the Cabrillo Festival of Contemporary Music from 1964-1990 are available online via UC Santa Cruz University Library Digital Media Collections. Audio recordings from 1991-2003 have been digitized and are available upon request. Many of the recordings that Other Minds digitized through History of New Music Preservation and Access Project are available online either on the Internet Archive ( archive.org/details/other_minds ) or on the Other Minds radiOM Archive website ( radiom.org ). Administrative History The San Francisco based Other Minds organization is a non-profit institution supporting new and contemporary music since it was founded in 1993. The mission of the organization centers around the propagation of new and experimental music, primarily by living composers around the world. As part of this goal, the organization concerns itself with four primary efforts: live events, particularly the annual Other Minds Festivals accompanied by the Djerassi Artist Residency program, featuring primarily new music by living composers; the creation of recordings of new compositions by up and coming composers as well as previously unrecorded music of the recent past; radio broadcasts of new music and interviews with composers; and the archiving of materials inherited from the Bay Area radio broadcasts of KPFA (1960-1992). Other Minds was co-founded by Charles Amirkhanian, who continues to serve as Executive and Artistic Director as of 2018, and Jim Newman. Both individuals came to Other Minds with extensive experience producing new and experimental art, film, music and television projects. Composer and radio broadcaster Charles Amirkhanian was born in Fresno, California in 1945 and has lived in the San Francisco Bay Area since the late 1960s. He served as the Music director for Pacifica Radio's KPFA-FM broadcasts in Berkeley, California from 1969 until 1992. During his tenure, Amirkhanian curated radio programs featuring contemporary music as well as interviews with noteworthy composers. From 1974–1990, Amirkhanian programmed experimental music concerts for the Cabrillo Music Festival in Santa Cruz, CA. Between 1988 and 1991 Amirkhanian co-directed the Telluride Institute's "Composer to Composer" festival in Telluride, Colorado. As a composer, Amirkhanian is known for his electroacoustic and text-sound/sound poetry compositions. In addition to supporting contemporary music, Amirkhanian has Guide to the Other Minds Records MS.414 2 efforted to revive the music of older musicians of the recent past, such George Antheil, Johanna Beyer, and Alan Hovhannes, among others, through public performances, radio broadcasts, and recording projects. Other Minds co-founder, Jim Newman was born in Omaha, Nebraska and received his Bachelors of Music from Oberlin College in 1955. He moved to Los Angeles, California following his graduation where he produced performances of jazz by musicians like Count Basie and Dave Brubeck and also began working in the art world by founding the Syddal Gallery with Walter Hopps. In 1958, Newman moved to San Francisco where he founded the Dilexi Art Gallery in 1959. Following the closing of Dilexi in 1970, Newman reentered the music scene, taking up the study of flute and holding the baritone saxophone chair in the Junius Courtney Big Band from 1982 to 2013. In 1991 Amirkhanian left the Telluride festival to accept directorship of the Djerassi Artist Residency program. He also announced his resignation from his longtime position at KPFA as part of this pursuit. Newman, a longtime listener and supporter of KPFA's programming, contacted Amirkhanian to try and convince him to remain involved in the Bay Area music scene. Together Amirkhanian and Newman conceived of the Other Minds organization through the inspiration of the collaborative, inclusive model established by Telluride, New Music America, and other previous music festivals devoted to experimental music. The name Other Minds was suggested by Newman as a response to an obituary for the composer John Cage (1912–1992), which stated "His epitaph might read that he composed music in other peoples' minds." The significance of the name of the organization is reflected in its concert programming, featuring composers from diverse backgrounds and parts of the world who create works outside the usual parlance. The first concert presented by Other Minds featured pianist Volker Banfeld giving the North American Premier of Hungarian composer György Ligeti's Piano Etudes at Hertz Hall of UC Berkeley in January of 1993. Later that year the first Other Minds Festival (OM I) coincided with the opening of San Francisco's Yerba Buena Center for the Performing Arts (YBCA). In coordination with the Djerassi board of directors, the inaugural festival featured eleven guest composers, including Robert Ashley, Philip Glass, Meredith Monk, Conlon Nancarrow, Trimpin, and Julia Wolfe, among others. As of 2017, OM has produced twenty-two flagship festivals, each with a cohort of composers at various stages in their careers. The organization also produces concerts with specific themes, such as composer retrospectives, film festivals, and other special events pertaining to new music. The Other Minds record label launched in 1999 as a complementary endeavor to the public performances of the organization. The label produces select recordings by composers whose works remained unavailable to the general public despite their significance to experimental composition. Notable releases include the Complete Music of Carl Ruggles, the Complete Studies for Player Piano by Conlon Nancarrow, and collections of works by composers such as George Antheil, John Bischoff, Sheila Booth, John Cage, Kui Dong, Amy Neuburg, Ezra Pound, Sarah Cahill, and Carter Scholz. The label also hosts digital downloads of live performances presented at OM concerts. In 2005, Other Minds began a new series of radio broadcasts on KALW 91.7 San Francisco called "Music From Other Minds." This hour-long program continues the legacy of the KPFA broadcasts and furthers the aims of the Other Minds organization by broadcasting new music on a weekly basis in the San Francisco Bay Area. Scope and Content This collection contains the organizational records of Other Minds, a San Francisco-based contemporary music non-profit organization. The records primarily include business records and correspondence related to the annual Other Minds New Music Festival, other events, artists, publications, fundraising and development, radio broadcasts, and the work of Other Minds staff and Board of Directors. Also included are Executive and Artistic Director Charles Amirkhanian's administrative and planning files, original scores, artwork, photographs, marketing and press materials, programming publications, and assorted realia, as well as CDs, VHS, DAT, and audiocassettes related to the Other Minds festival, events, associated artists, and the Other Minds record label. Events and activities of the California College of Performing Arts (CCPA) and the Cabrillo Festival of Contemporary Music are also documented, mostly through Other Minds' Director Amirkhanian's involvement. Included in the Other Minds History of New Music Preservation and Access Project series are planning materials and project documentation, as well as the original open-reel audio tapes and selected
Recommended publications
  • Chuaqui C.V. 2019
    MIGUEL CHUAQUI, Ph.D. Professor Director, University of Utah School of Music 1375 East Presidents Circle Salt Lake City, UT 84112 801-585-6975 [email protected] www.miguelchuaqui.com EDUCATION AND TRAINING 2007: Summer workshops in advanced Max/MSP programming, IRCAM, Paris. 1994 - 96: Post-doctoral studies in interactive electro-acoustic music, Center for New Music and Audio Technologies (CNMAT), University of California, Berkeley. 1994: Ph.D. in Music, University of California, Berkeley, Andrew Imbrie, graduate advisor. 1989: M.A. in Music, University of California, Berkeley. 1987: B.A. in Mathematics and Music, With Distinction, University of California, Berkeley. 1983: Studies in piano performance and Mathematics, Universidad Católica de Chile, Santiago, Chile. 1982: Certificate in Spanish/English translation, Cambridge University, England. 1976 - 1983: Studies in piano performance, music theory and musicianship, Escuela Moderna de Música, Santiago, Chile. WORK HISTORY 2009 – present: Professor, School of Music, University of Utah, Salt Lake City, Utah; Chair, Composition Area, 2008-2014. 2003 - 2009: Associate Professor, School of Music, University of Utah, Salt Lake City, Utah. 1996 - 2003: Assistant Professor, School of Music, University of Utah, Salt Lake City, Utah. 1994 – 1996: Organist and Assistant Conductor, St. Bonaventure Catholic Church, Clayton, California. 1992 - 1996: Instructor, Music Department, Laney College, Oakland, California. Music Theory and Musicianship. 1992 – 1993: Lecturer, Music Department, San Francisco State University, San Francisco, California. (One-year music theory sabbatical replacement position). 1989 – 1992: Graduate Student Instructor, University of California, Berkeley, California. updated 2/19 Miguel Chuaqui 2 UNIVERSITY, PROFESSIONAL, AND PUBLIC SERVICE ADMINISTRATIVE APPOINTMENTS 2015-present: Director, University of Utah School of Music.
    [Show full text]
  • Sòouünd Póetry the Wages of Syntax
    SòouÜnd Póetry The Wages of Syntax Monday April 9 - Saturday April 14, 2018 ODC Theater · 3153 17th St. San Francisco, CA WELCOME TO HOTEL BELLEVUE SAN LORENZO Hotel Spa Bellevue San Lorenzo, directly on Lago di Garda in the Northern Italian Alps, is the ideal four-star lodging from which to explore the art of Futurism. The grounds are filled with cypress, laurel and myrtle trees appreciated by Lawrence and Goethe. Visit the Mart Museum in nearby Rovareto, designed by Mario Botta, housing the rich archive of sound poet and painter Fortunato Depero plus innumerable works by other leaders of that influential movement. And don’t miss the nearby palatial home of eccentric writer Gabriele d’Annunzio. The hotel is filled with contemporary art and houses a large library https://www.bellevue-sanlorenzo.it/ of contemporary art publications. Enjoy full spa facilities and elegant meals overlooking picturesque Lake Garda, on private grounds brimming with contemporary sculpture. WElcome to A FESTIVAL OF UNEXPECTED NEW MUSIC The 23rd Other Minds Festival is presented by Other Minds in 2 Message from the Artistic Director association with ODC Theater, 7 What is Sound Poetry? San Francisco. 8 Gala Opening All Festival concerts take place at April 9, Monday ODC Theater, 3153 17th St., San Francisco, CA at Shotwell St. and 12 No Poets Don’t Own Words begin at 7:30 PM, with the exception April 10, Tuesday of the lecture and workshop on 14 The History Channel Tuesday. Other Minds thanks the April 11, Wednesday team at ODC for their help and hard work on our behalf.
    [Show full text]
  • Other Minds 19 Official Program
    SFJAZZ CENTER SFJAZZ MINDS OTHER OTHER 19 MARCH 1ST, 2014 1ST, MARCH A FESTIVAL FEBRUARY 28 FEBRUARY OF UNEXPECTED NEW MUSIC Find Left of the Dial in print or online at sfbg.com WELCOME A FESTIVAL OF UNEXPECTED TO OTHER MINDS 19 NEW MUSIC The 19th Other Minds Festival is 2 Message from the Executive & Artistic Director presented by Other Minds in association 4 Exhibition & Silent Auction with the Djerassi Resident Artists Program and SFJazz Center 11 Opening Night Gala 13 Concert 1 All festival concerts take place in Robert N. Miner Auditorium in the new SFJAZZ Center. 14 Concert 1 Program Notes Congratulations to Randall Kline and SFJAZZ 17 Concert 2 on the successful launch of their new home 19 Concert 2 Program Notes venue. This year, for the fi rst time, the Other Minds Festival focuses exclusively on compos- 20 Other Minds 18 Performers ers from Northern California. 26 Other Minds 18 Composers 35 About Other Minds 36 Festival Supporters 40 About The Festival This booklet © 2014 Other Minds. All rights reserved. Thanks to Adah Bakalinsky for underwriting the printing of our OM 19 program booklet. MESSAGE FROM THE ARTISTIC DIRECTOR WELCOME TO OTHER MINDS 19 Ever since the dawn of “modern music” in the U.S., the San Francisco Bay Area has been a leading force in exploring new territory. In 1914 it was Henry Cowell leading the way with his tone clusters and strumming directly on the strings of the concert grand, then his students Lou Harrison and John Cage in the 30s with their percussion revolution, and the protégés of Robert Erickson in the Fifties with their focus on graphic scores and improvisation, and the SF Tape Music Center’s live electronic pioneers Subotnick, Oliveros, Sender, and others in the Sixties, alongside Terry Riley, Steve Reich and La Monte Young and their new minimalism.
    [Show full text]
  • Bang on a Can Live – Vol
    NWCR646 Bang on a Can Live – Vol. 2 Gary Trosclair, trumpet; Mark Stewart, electric guitar; Alan Moverman, piano and synthesizer; Tigger Benford, percussion Jeffrey Brooks 3. Composition for Two Pianos (1992) ................... (8:55) (Bang on a Can 1992) Piano Duo – Cees van Zeeland & Gerard Bouwhuis Elizabeth Brown 4. Migration – in memory of Julie Farrell (1992) .... (11:44) (Bang on a Can 1992) Elizabeth Brown, shakuhachi; Mayuki Fukuhara, violin; Sarah Clarke, viola; Theodore Mook, cello David Lang 5. The Anvil Chorus (1991) ..................................... (7:00) (Bang on a Can 1991) Steve Schick, percussion Jeffrey Mumford 6. a pond within the drifting dusk (1989) ................ (9:22) (Bang on a Can 1989) Laura Gilbert, alto flute; Joshua Gordon, cello; Victoria Drake, harp Phil Kline Shelley Hirsch/David Weinstein 7. Bachman’s Warbler (1992) ................................. (16:34) 1. Haiku Lingo (excerpt) (1990) ............................. (8:15) (Bang on a Can 1992) Phil Kline, harmonica and (Bang on a Can 1990) Shelley Hirsch, voice; boomboxes David Weinstein, electronics Total playing time: 74:53 Lois V. Vierk 2. Red Shift IV (1991) ............................................. (12:25) Ê & © 1993 Composers Recordings, Inc. (Bang on a Can 1991) A Cloud Nine Consort: © 2007 Anthology of Recorded Music, Inc. Notes Bang on a Can is among the most inclusive and hospitable of introductions are cursory, a bit nervous and wonderfully all new music festivals. Its ambiance is informal. When the illuminating—an introduction to the person, not the concept, venues allow it, audiences can come and go during annual all- behind the music. When John Cage stepped on stage to kick day marathon concerts, sit up close and listen, or casually off the 1992 edition of the festival, which began with his stand in the back with a beer or an apple cider.
    [Show full text]
  • Still Not a British Subject: Race and UK Poetry
    Editorial How to Cite: Parmar, S. 2020. Still Not a British Subject: Race and UK Poetry. Journal of British and Irish Innovative Poetry, 12(1): 33, pp. 1–44. DOI: https:// doi.org/10.16995/bip.3384 Published: 09 October 2020 Copyright: © 2020 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and repro- duction in any medium, provided the original author and source are credited. See http://creativecommons. org/licenses/by/4.0/. Open Access: Journal of British and Irish Innovative Poetry is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. The Open Library of Humanities is an open access non-profit publisher of scholarly articles and monographs. Sandeep Parmar, ‘Still Not a British Subject: Race and UK Poetry.’ (2020) 12(1): 33 Journal of British and Irish Innovative Poetry. DOI: https://doi. org/10.16995/bip.3384 EDITORIAL Still Not a British Subject: Race and UK Poetry Sandeep Parmar University of Liverpool, UK [email protected] This article aims to create a set of critical and theoretical frameworks for reading race and contemporary UK poetry. By mapping histories of ‘innova- tive’ poetry from the twentieth century onwards against aesthetic and political questions of form, content and subjectivity, I argue that race and the racialised subject in poetry are informed by market forces as well as longstanding assumptions about authenticity and otherness.
    [Show full text]
  • Tracing the Development of Extended Vocal Techniques in Twentieth-Century America
    CRUMP, MELANIE AUSTIN. D.M.A. When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America. (2008) Directed by Mr. David Holley, 93 pp. Although multiple books and articles expound upon the musical culture and progress of American classical, popular and folk music in the United States, there are no publications that investigate the development of extended vocal techniques (EVTs) throughout twentieth-century American music. Scholarly interest in the contemporary music scene of the United States abounds, but few sources provide information on the exploitation of the human voice for its unique sonic capabilities. This document seeks to establish links and connections between musical trends, major artistic movements, and the global politics that shaped Western art music, with those composers utilizing EVTs in the United States, for the purpose of generating a clearer musicological picture of EVTs as a practice of twentieth-century vocal music. As demonstrated in the connecting of musicological dots found in primary and secondary historical documents, composer and performer studies, and musical scores, the study explores the history of extended vocal techniques and the culture in which they flourished. WHEN WORDS ARE NOT ENOUGH: TRACING THE DEVELOPMENT OF EXTENDED VOCAL TECHNIQUES IN TWENTIETH-CENTURY AMERICA by Melanie Austin Crump A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by ___________________________________ Committee Chair To Dr. Robert Wells, Mr. Randall Outland and my husband, Scott Watson Crump ii APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The School of Music at The University of North Carolina at Greensboro.
    [Show full text]
  • Presidency Cultural Programme in Kraków
    Presidency Cultural Programme in Kraków 2011-08-23 4th “Divine Comedy” International Theatre Festival December 2011 The Divine Comedy festival is not just a competition, but also an opportunity to see the top shows by young Polish directors and the chance to compare opinions of Polish theatre with critics from all over Europe. The selection of productions is made by the most prominent Polish critics, journalists, and reviewers, while the decision on who walks away with the figurine of the Divine Comedian is made by an independent international jury. The festival is divided into three blocks. In the Inferno section – the contest for the best Polish productions of the previous season – the maestros of Polish theatre and their students compete for the award. Paradiso is the section of the festival devoted to the work of young, but already acclaimed, directors. The Purgatorio block includes accompanying events. It should be emphasised that this year the festival has changed its formula – traditionally the competition section and culmination of accompanying events fall in December, while the international section takes place all year round – every month excluding the summer holidays. Organiser: Krakow Festival Office www.boskakomedia.pl Opera Rara: A. Vivaldi – L’Oracolo in Messenia 8 December 2011 December’s performance in the Opera Rara cycle perfectly achieves the goals set by originator Filip Berkowicz when he began the project in 2009 – to present above all works which are rarely played or which have been restored to the repertoire after centuries of absence in concert halls. This will be the world première of the opera written by Antonio Vivaldi in the last years of his life, published just after his death and then lost for a very long time.
    [Show full text]
  • Copyright by Bonny Kathleen Winston 2003
    Copyright by Bonny Kathleen Winston 2003 The Development of a Multimedia Web Database for the Selection of 20th Century Intermediate Piano Repertoire by Bonny Kathleen Winston, B.M., M.M. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May, 2003 Dedication This dissertation would not have been completed without all of the love and support from professors, family, and friends. To all of my dissertation committee for their support and help, especially John Geringer for his endless patience, Betty Mallard for her constant inspiration, and Martha Hilley for her underlying encouragement in all that I have done. A special thanks to my family, who have been the backbone of my music growth from childhood. To my parents, who have provided unwavering support, and to my five brothers, who endured countless hours of before-school practice time when the piano was still in the living room. Finally, a special thanks to my hall-mate friends in the school of music for helping me celebrate each milestone of this research project with laughter and encouragement and for showing me that graduate school really can make one climb the walls in MBE. The Development of a Multimedia Web Database for the Selection of 20th Century Intermediate Piano Repertoire Publication No. ________________ Bonny Kathleen Winston, D.M.A. The University of Texas at Austin, 2003 Supervisor: John M. Geringer The purpose of this dissertation was to create an on-line database for intermediate piano repertoire selection.
    [Show full text]
  • Word Is Seeking Poetry, Prose, Poetics, Criticism, Reviews, and Visuals for Upcoming Issues
    Word For/ Word is seeking poetry, prose, poetics, criticism, reviews, and visuals for upcoming issues. We read submissions year-round. Issue #30 is scheduled for September 2017. Please direct queries and submissions to: Word For/ Word c/o Jonathan Minton 546 Center Avenue Weston, WV 26452 Submissions should be a reasonable length (i.e., 3 to 6 poems, or prose between 50 and 2000 words) and include a biographical note and publication history (or at least a friendly introduction), plus an SASE with appropriate postage for a reply. A brief statement regarding the process, praxis or parole of the submitted work is encouraged, but not required. Please allow one to three months for a response. We will consider simultaneous submissions, but please let us know if any portion of it is accepted elsewhere. We do not consider previously published work. Email queries and submissions may be sent to: [email protected]. Email submissions should be attached as a single .doc, .rtf, .pdf or .txt file. Visuals should be attached individually as .jpg, .png, .gif, or .bmp files. Please include the word "submission" in the subject line of your email. Word For/ Word acquires exclusive first-time printing rights (online or otherwise) for all published works, which are also archived online and may be featured in special print editions of Word For/Word. All rights revert to the authors after publication in Word For/ Word; however, we ask that we be acknowledged if the work is republished elsewhere. Word For/ Word is open to all types of poetry, prose and visual art, but prefers innovative and post-avant work with an astute awareness of the materials, rhythms, trajectories and emerging forms of the contemporary.
    [Show full text]
  • Hal Leonard Piano Selections from the NFMC Festivals Bulletin 2014
    Hal Leonard Piano Selections from the NFMC Festivals Bulletin 2014–2015–2016 Please see your favorite music retailer to purchase these publications. Please see www.halleonard.com for complete descriptions and table of contents. Please contact the National Federation of Music Clubs for further information on rules for the National Festivals. www.nfmc-music.org Prices, contents, and availability subject to change without notice and may vary outside the U.S.A. Order Qty Item Description Composer Publisher Price Piano Solo Event Pre - Primary Class Piano Solo 416896 Extra Special Day Miller, Carolyn Willis Music $ 2.99 Primary Class I Piano Solos 416850 Barnyard Strut Austin, Glenda Willis Music $ 2.99 296840 Just for Kids Rejino, Mona Hal Leonard $ 7.99 Monday Mornin' Blues The Tooth Fairy 416933 The Perceptive Detective Miller, Carolyn Willis Music $ 2.99 296868 Things Go Bump Klose, Carol Hal Leonard $ 2.99 Primary Class II Piano Solos 296830 Chimichanga Cha-Cha Linn, Jennifer Hal Leonard $ 2.99 296840 Just for Kids Rejino, Mona Hal Leonard $ 7.99 Let's Go On Vacation Pepperoni Pizza Primary Class III Piano Solos 416819 Drifting Sunset Clouds Hartsell, Randall Willis Music $ 2.99 416878 Mini Toccata Baumgartner, Eric Willis Music $ 2.99 102595 PBJ Blues Klose, Carol Hal Leonard $ 2.99 Primary Class IV Piano Solos 296835 Alley Cat Caper Cruse, Hannah Hal Leonard $ 2.99 296849 Blues, Jazz, Rock & Rags, Book 1 Watts, Jennifer & Mike Hal Leonard $ 8.99 Lazy Daisy Raggin' Around Sneakin' Cake 296854 Footprints in the Snow Linn, Jennifer Hal
    [Show full text]
  • The Secret Agent
    center for contemporary opera “…not a single player was poorly cast. Similarly, the orchestra… performed with polish and sophistication under the direction of Sara Jobin.” —Opera News “ The Center for Contemporary Opera has lovingly produced a show that boasts high production values, accessible music and a compelling story, and the distinct possibility of future productions.” — O p e r a t i C u s “Dispatching Verloc with a portentously placed knife, the secret agent Winnie — a vocally gleaming Amy Burton — shifts into mad-scene mode, condemning the “blood and dirt” left in terrorism’s wake.” — N e w Y o r k t i m e s Michael Dellaira libretto by J . D . M c C l a t c h y www.albanyrecords.com TROY1450/51 albany records u.s. 915 broadway, albany, ny 12207 Amy Burton Scott Bearden tel: 518.436.8814 fax: 518.436.0643 albany records u.k. c o n d u c t o r box 137, kendal, cumbria la8 0xd Sara Jobin, tel: 01539 824008 © 2013 albany records made in the usa ddd waRning: cOpyrighT subsisTs in all Recordings issued undeR This label. i ntroduction each driven by callous selfishness and misdirected idealism, each involved to a different degree, as Conrad writes, in “a blood-stained inanity of so fatuous a kind that it was impossible to fathom its On behalf of the Center for Contemporary Opera, I am delighted to bring you this recording of the origin by any reasonable or even unreasonable process of thought.” premiere performance of The Secret Agent, which took place at the Kaye Playhouse in New York City, Michael Dellaira and J.
    [Show full text]
  • SAAKE, GARRETT. D.M.A. the Elements of Neoclassical Style in the Women‟S Choir Compositions of Irving Fine
    SAAKE, GARRETT. D.M.A. The Elements of Neoclassical Style in the Women‟s Choir Compositions of Irving Fine. (2011) Directed by Dr. Welborn Young. 65 pp. The composer Irving Fine died in 1962 at the age of forty-seven cutting short the life of an important figure in twentieth-century American music. Since Fine‟s life was relatively short, his musical output is proportionally small and often goes unstudied. Fine‟s contribution to the choral genre is particularly small but offers a unique perspective of composing for choir. Fine‟s complete oeuvre includes music in many genres that can stylistically be divided into two categories; tonal-neoclassical and atonal- neoclassical. Fine‟s early instrumental compositions are decidedly tonal-neoclassical and ultimately become serially based, a style that characterizes most of his later works. While Fine‟s instrumental music developed towards atonality, his works for women‟s choir did not. The choral music for women‟s choir remained rooted in the tonal- neoclassical style of his early period. The purpose of this study is to demonstrate that Irving Fine composed choral music for women‟s choir in an operative and nuanced style of choral writing that remained effectively tonally based and in the neoclassical style as understood and applied by Fine and his colleagues. This document places the selected choral works in context through a brief biography and discussion of neoclassicism as the term was understood during Fine‟s compositional period. The biography “Irving Fine: A Composer in His Time” by Phillip Ramey and information from the Irving Fine Collection at the Library of Congress are the primary sources of biographical information.
    [Show full text]